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ACKNOWLEDGMENTS

My deepest gratitude

To Amy Boland, Joyce Bryant, Betsy Colvin, Betsy Cuffel, Andrew Cox, David Dahl, John Dowdall, Christopher Krueger, Betty Bang Mather, Roger Mather, Judy Moore, Ardal Powell, Jama Stilwell, Teresa Texeira, John Thow, and Richard M. Wilson for advice offered after reading the text, in full or in part. To Richard M. Wilson and Christopher Krueger for guidance in writing the chapter on intonation. I take responsibility for all the errors and omissions which remain.

To flute-maker Friedrich von Huene for permission to reprint his excellent drawings of original instruments.

To Stephen Preston for information, insights, and inspiration given at annual baroque flute master classes at the Wildacres Flute Symposium since 1985.

To Barbara Kallaur for repertoire ideas.

To Betty Rogers, Linda Bloedel, Harlene Hansen, and Richard Doyle at Stewart Memorial Library at Coe College for assistance with interlibrary loan materials. To The University of Iowa Libraries for making their materials available. To David Lasocki at Indiana University for answering many reference questions.

To the Iowa Arts Council and the National Endowment for the Arts for a Creative Artist's Grant to assist in readying the book for the publisher.

To McGinnis & Marx Music Publishers for permission to reprint my survey of eighteenth-century tutors from Fluting and Dancing: Articles and Reminiscences for Betty Bang Mather on her 65th Birthday (New York: McGinnis & Marx, 1992).

To John Dowdall and Elsie Kleese, my ardent supporters in whatever I strive to do.

And most of all, to Betty Bang Mather, my mentor and friend, who has given me a wealth of instruction, advice, and encouragement. Her pioneering work with the one-keyed flute, her patient, masterful teaching, her exemplary musicianship, and her many contributions to the scholarly world have been my inspiration.

Marion, Iowa

J.D.B.

December 1997